The Empty Mirror

In a subterranean bunker, displaced from place and time, Adolf Hitler is very much alive. Full of his trademark demented energy and vigour, he rants and raves about art, philosophy and psychology. Dictating his memoirs, the Führer displays little remorse, while compatriots such as Goebbels, Goering and Eva Braun continue to feed his ego. However, the appearance of Sigmund Freud, as well as a mysterious woman in black, cast doubts over the fascist's agenda; leading him to finally question his legacy and life.

A complex and intriguing experimental film, Barry J. Hershey's 'The Empty Mirror' is a fascinating examination of one of the most infamous characters in history. Written alongside someone credited only as R. Buckingham, Hershey's screenplay is strongly written, painting a nuanced portrait of the Führer, whilst condemning his National Socialist policies. Much like Oliver Hirschbiegel's 'Downfall,' the film does not take a one-dimensional view of the man, exploring the humanity of a most inhumane character.

Hershey's version of Hitler is a man struggling to accept the fact that his policies failed, that his ideas for the world were not realized in his lifetime. Though an egotistical lunatic in many respects, the film highlights the magnetic- and to modern viewers, perhaps maniacal- draw he had over audiences. Through his rants- many of which are taken word for word from 'Mein Kampf'- we begin to understand the man better than in most other contemporary accounts or films; such as the overwrought 'Hitler: The Rise of Evil,' or in the rather one-note 'The Death of Adolf Hitler.'

It is a powerful film with an important- albeit familiar- message at its centre: that absolute power corrupts absolutely, and that even the most powerful and evil people are still just that; people. The film doesn't try to mythologize the man, nor his actions, and is all the better for it. Furthermore, through his encounters with Freud, Hitler is finally faced with someone who disagrees with him on practically every level. In this respect, the narrative showcases that authoritarianism breeds isolated ignorance, leading everyone involved down a dark and sinister path.

'The Empty Mirror' is a visually striking affair, containing stylish imagery that compounds the main messages of the film. Influenced by the same expressionism and surrealism so well-utilized by Leni Riefenstahl, Frederick Elmes's unique cinematography employs a compelling mix of black-and-white and colour footage. This choice deftly contrasts the stark reality of Hitler's ideology with the vivid, often grotesque fantasy of his envisioned utopia.

Symbolic elements are woven throughout, with the mirror serving as a recurring motif for self-reflection, while the painting and chessboard symbolizes control and strategy. The mysterious woman in black introduces an element of the unknown, casting a shadow over Hitler's certainty, while Elmes's use of tight close-ups captures the intensity of his delusions. Elmes's utilisation of low angle shots elevates the Führer's imposing presence, while the dimly lit, oppressive bunker interior makes for a claustrophobic experience, trapping the viewer in Hitler's warped mindset; forcing a confrontation with the disturbing allure of his rhetoric. Elmes's work not only enhances the psychological drama of proceedings, but also serves as a stark reminder of the power of visual media to manipulate and mesmerize.

Furthermore, John Frizzell's score is haunting and evocative. Combined with Elmes's visuals, his work recreates the intense atmosphere that must have been experienced at a National Socialist rally in the late 30's. Making effective use of pieces by Wagner and others, Frizzell's stirring melodies create an atmosphere of epic dread, which is only compounded by the affecting sound design, as well as Melinda Eshelman's remarkably accurate costume design; while Marc Grossman's intuitive editing holds everything together adroitly.

'The Empty Mirror' finds Norman Rodway starring as Hitler, delivering a powerful and poignant performance that highlights the man's madness, as well as his humanity. Rodway could be the fascist's double, at times, so uncannily does he capture Hitler's expressive gesticulations. It is a grounded performance, full of nuance and subtlety. Camilla Søeberg is equally good as the somewhat naïve Eva Braun, while Peter Michael Goetz, Glenn Shadix and Joel Grey do sterling efforts as Freud, Goering and Goebbels, respectively.

A fascinating film, 'The Empty Mirror' is a clever and canny examination of Adolf Hitler, that doesn't attempt to excuse the man or lessen the inhumanity of his actions. A balanced and provocative portrait of the madness borne of absolute power; it is a film that will keep one thinking long after the credits have rolled. Boasting strong dialogue, power-house performances, a stirring score and striking cinematography, Barry J. Hershey's 'The Empty Mirror' casts a reflection of life one cannot ignore.

The Empty Mirror is like a stage production, almost entirely a monologue. It is Adolph Hitler's fictitious self-examination (interrupted by a detached Sigmund Freud to give his objective analysis). I really enjoyed the writing and performances. The production is a bit cheap, but for what it is, it still works. My main complaint is the casting of Norman Rodway as Adolph Hitler. He portrays the insanity of Hitler with painfully acute skill. But, his long face and British accent breaks the illusion, taking the audience out of the story, and I feel he was just a poor choice for the part of such a well-known historical figure. The Roles of Goering, Goebbels, and Freud on the other hand were cast very well, with excellent performances.

The story illuminates the power of illusions and how someone could delude themselves into believing almost anything. It humanizes Hitler a bit, examining how he destroyed himself in his lust for power, and how the same thing could happen again.

A superficial pass over The Empty Mirror will lead to superficial conclusions. I saw this several years ago at an American Cinematheque screening in Los Angles. The director (himself Jewish) tried to take a look at Hitler as a man, unsullied by the gross oversimplifications that typically underscore such material.

Most people feel a need to discard Hitler as merely "insane" and "evil" because it conveniently avoids the stickiness of trying to develop an understanding of his psychology. Most other material about Hitler and the Third Reich may try to offer honest insights, but more often then not devolve at some point into oblique moral condemnation "All you REALLY need to know is that they were all very NAUGHTY/BAD/EVIL." They don't trust you to be intelligent and reach your own conclusions.

The Empty Mirror takes a reasonably unclouded look - the majority of Hitler's lines are taken directly from _Mein Kampf_ and his interaction with other significant figures of the era provide us with insight (conjectured but believable) into his thought processes, motives, and rationalizations.

The movie occurs in a surreal, dripping dark stone bunker which the camera never seems to quite capture the dimensions of. It's more of a "dream" state than actual location as the rooms change, occupants shift, uniforms taken on and off.

See the movie yourself. The director is for once not insulting our abilities and is providing an opportunity to reach our own conclusions. Swallow your distaste for the subject for an hour and a half and try to objectively form your own opinion.

Remember that this is the last movie hitler would ever want anyone to see - one that demystifies the "Fuhrer-myth" by showing him to NOT necessarily be a 2-dimensional cartoon hellbeast, but alas, merely a man.

>> If we understand Hitler, and how he was able to mesmerize 70 million otherwise highly intelligent people, then history will be far less likely to repeat itself. <<

Perhaps what needs to be understood is that they weren't any more intelligent than he was. This explains why they could be 'mesmerized' by him.

The fact is that Hitler WAS exactly the same as all the people around him. He represented the realization of their deepest desires, promised to deliver, was applauded for the early result then, as an escape from their own culpability, blamed for the entire 12 year debacle. Every murder, every despicable act by every person who either directly or tacitly supported him, was laid off on a single momentarily charismatic human being.

They weren't in any way unlike him, they were just like him; and he; just like them.

The real question that remains is — are we?

As I am reading some of the reviews, I begin to realize that this masterpiece is not for the unsophisticated who draws a blank at symbolism. It also would not hurt to have read some of the more comprehensive works on the subject such as J. Toland's `Hitler' to understand the making and the pathologies of this sometimes gentle monster. There are so many outstanding moments in this film. Like when Hitler tallies up the murdered Jews and comes up slightly short of six mio., then trivializes it by claiming the other side is always embellishing. The illuminated part where he stands in the light beam of his projector directing Handel's Messiah. Yes, he is the creator! The phallic symbol of shattered mirror he holds up. Yes, there was a problem with potency. Finally his jailer becoming himself. And his last act to immerse into the tunnel and into the light, cleverly staged through the light beam of the projector. Frustratingly clawing entry into the projection. No, he is not permitted entry. His pained face shows utter torment and eventually takes on the image of a distorted mask against a black background. Norman Rodway as Hitler did a fantastic and believable portrayal of Hitler. No, he is not the spitting image of the egomaniac, but remember looks can be deceiving!